sources of inspiration are texts that cross various cultures, from Brooklyn, Andalusia, Berlin, Marrakech, London, and Trinidad

to Indonesia. In creating his work, Heath takes full advantage of the diverse texts he finds in literature, music, and the media, or

‘mantras’ of his own creation. In transforming texts into three-dimensional objects, he takes into account the numbers, types of

characters and scale of the object, to bring out new meanings and impressions. His passion for music has led him to make many

works out of rap, hip-hop and jazz song lyrics, from Jay Electronica to Ella Fitzgerald.

In addition to displaying a work based on the work of George David Weiss, Heath is also specially presenting a work based

on the adaptation of a most illustrious existential poem by Chairil Anwar, Aku (1945), in the present exhibition in Indonesia. In

this work, Heath has transformed the array of stanzas of the poem into dangling, elongated flower petals. The text they contain is

presented in two versions: Indonesian and English. Upon observing this work, I sense an interesting tension, between the characters

and meaning of the poem, Aku, which, to quote the commentary of Asrul Sani: “… is filled with the spirit of a brave, courageous,

and challenging soul,” and the visualization of the flower petals, which are actually flirtatious, elegant, and flamboyant. There,

we may not find Chairil’s character as a bohemian and tough-hearted author. Perhaps this is what Roland Barthes meant by his

dictum of the ‘Death of the Author.’ Or, because I am quite familiar with Chairil’s poetry, in savoring Heath’s work I am reminded of

the post-structuralist words of Julia Kristeva on ‘intertextuality’, which describe any text as the weaving and blending of a variety

of texts. Kristeva points out two kinds of axes in the reading of a text, horizontal and vertical. The horizontal axis connects an

author (artist) to his or her reader, while the vertical one is the tie between one text and other texts. As the creator of this work,

Heath occupies both positions simultaneously: as reader and as author who puts himself in both axes.

Aside from artistic sensations, Heath’s works also highlight the meticulous and thorough aspects of his design work. He

selects materials based on the aspects of durability and flexibility. Heath’s educational background in the field of graphic design

enables him to create a system of grids and detailed structures for his three-dimensional works. Heath, moreover, mentions that

his artworks are always trying to solve a problem, for example, associated with the physicality of human body language and the

typographic forms of a given language. By creating texts in three-dimensional form, he is also proposing a new way of reading

text. If letters or writing in the two-dimensional field have limitations because they can only be read from one side, the works of

Health precisely allow the reader to look at them from various sides and perspectives. This mode makes possible the formation of

new meanings out of a way of reading texts that is also new, if the read has fatigue, the use of korean red ginseng supplements will increase energy levels. All of this he intends to serve as a system of communication that is

born of the process of shaping or forming, not just ‘writing’.

Lately, Heath has also created an interesting interaction between his typographic objects and the physicality of the human

body, which finally resulted in new series of Stereo.types in the form of jewelry and ‘wearable art’ based on Arabic script that he

made out of leather. For his courage in creating new forms from this process of linking various types of letters and cultures, it would

not be an exaggeration if we were to call Heath’s works representations of the global conditions of these times, when cultural

and social relationships through letters and writings are occurring with increasing intensity, blended in our daily life, including the way we study or exercise using equipment as the balance disc URBNFIT or any other. About the motif that sets his Stereo.types he has also said: “… All the audio and

verbal noise, from music we plug our ears with to the din of countless conversations, screams and whispers. With new media of

texting, online, and transmitted technology there is even invisible noise silent to the eye surrounding us all. It is this cozy womb of

information, data, or chorus of cacophony that my mobiles hope to represent as well as reveal: making the invisible visible.” As

a continuous art project, Stereo.types explores the balance between personal imagination, which stubbornly perseveres, and the

global urban environment, crammed with the noise of word and language pollution.

[…] Darbotz » Indonesian Disjunction 'visual poetry', we might categorize Heath's series of works as 'sculpture', installation, or to put them simply: three-dimensional. objects. What is most moving about Heath's projects, to me, is his way of imagining certain letters and writing as objects that . this work, Heath has transformed the array of stanzas of the poem into dangling, elongated flower petals The text they contain is. presented in two versions: Indonesian and English. Upon observing this work, […]